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Introduced by a brief examination of the anonymous seventeenth-century miniature painting used on the book's jacket and frontispiece, essays in Resurrecting Elizabeth I in Seventeenth-Century England combine literary and cultural analysis to show how and why images of Elizabeth Tudor appeared so widely in the century after her death and how those images were modified as the century progressed. The volume includes work bY Steven W. May (on quotations and misquotations of Elizabeth's own words), Alan R. Young (on the Phoenix Queen and her successor, James I), Gerogianna Ziegler (Elizabeth's goddaughter, Elizabeth of Bohemia), Jonathan Baldo (on forgetting Elizabeth in Henry VIII), Lisa Gim (on Anna Maria van Schurman and Anne Bradstreet's visions of Elizabeth as an exemplary woman), and Kim H. Noling (on John Banks's creation of a maternal genealogy for English Protestantism). Katherine Duncan-Jones has written a beautifully evocative account of Elizabeth's last two years for the volume. Hardin L. Aasand offers a provocative psychoanalytical reading of Jonson's early masques, which fetishize Elizabeth 'and the political imaginary through which she negotiated her sovereignty', and Peter Hyland argues that the anonymous author's treatment of the skull of Glioriana in The Revenger's Tragedy of 1607 is an early indication of English distaste for James I. Elizabeth Pentland studies pamphlets in which Thomas Scott and John Reynolds evoke writing by Edmund Spenser and Elizabeth's one-time favorite, the Early of Leicester, to critique James in 1624, and Erika Mae Olbricht treats four accounts of Elizabeth's ordering the execution of Mary, Queen of Scots as efforts to use the Elizabethan succession crisis to comment on fears that Charles II's Catholic brother, the Duke of York, might (as indeed he did in 1685) become king. Brandie R. Siegfried places Francis Bacon and Margaret Cavendish together as writers who 'emphasize the theatricality of Elizabeth's public acts, conflating their own rhetorica